Daisy

Daisy Chain Fields arrived on a sweltering summer Saturday, plopped in the middle of Irvine’s suede hills, inside Orange County lines. The festival, hosted by Olivia Rodrigo at the Great Park, was a spiritual successor to Sarah McLachlan’s Lilith Fair of the late ‘90s, born out of frustration with promoters and radio stations that refused to play two female artists in a row.

Like McLachlan’s event, Daisy Chain Fields boasted an all-female lineup, featuring some of the most coveted names in the contemporary music scene. The festival also gave a nod to some of the industry’s women pioneers, such as Bikini Kill and Garbage.

Anticipation for the festival was high after Rodrigo unveiled it in late June, with tickets selling out just 30 minutes after release. This translated directly onto the grounds, which were swarmed by 45,000 attendees, comprising teenage girls, moms, dads and everyone in between.

The event raised $10 million to benefit 10 girl- and women-focused nonprofit organizations, all of which made an appearance on stage before each artist’s set. Each musician on the lineup performed for free.

Festivalgoers walk past the Great Park Balloon.

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1. Festival goers pose for pictures in front of a daisy backdrop. 2. Nara Brown from Costa Mesa ties together a flower headpiece.

As the sun went down and Rodrigo took the stage, she announced that proceeds had been 100% matched by billionaire and philanthropist Melinda French Gates, bringing total donations to $20 million.

The Times was on site to witness the festival in all its glory, amid astounding 94 degree heat and an unwavering, tangible electricity among fans. Here is our recap of the best moments from the festival. —Julius Miller

Livies get loud on the Metrolink
The 2 p.m. Metrolink train from Union Station in L.A. to Orange County was absolutely mobbed with Livies (a.k.a. Olivia Rodrigo fans) on Saturday. For such a car-brained region, it was sweet to see public transit packed with young fans in festival regalia, making the grind to Irvine more sane and green. Let’s have this vibe for every major SoCal festival (including the car-free Ocean Way next month). Yet, for new train fans, a gentle reminder: one spirited round of singing “Get Him Back!” as you’re climbing onboard? Endearing, a delight for all. Keeping it up for an hour, next to civilian commuters who looked ready to climb onto the tracks themselves by Buena Park? Maybe save that for the pit. —August Brown

Festivalgoers sing as Olivia Rodrigo performs during Daisy Chain Fields.

Devon Again performs during Daisy Chain Fields.

Devon Again felt so lucky that she gets to know you

25-year-old alt-pop princess Devon Again was a last-minute addition to the Daisy Chain Fields bill, replacing global girl group Katseye, who pulled out of the festival on Thursday due to a member’s ankle injury. Luckily, Devon Again, a personal friend of Rodrigo who will open for her tour starting in November, was there to answer Rodrigo’s call with a resounding “Duh, b—! Obviously I want to do it!” as she relayed to the Saturday afternoon crowd. Though Katseye’s presence was felt — members Lara Raj, Megan Skiendiel and Yoonchae Jeong took the stage to introduce nonprofit partner Baby2Baby before the set, and Devon Again’s drummer wore a Katseye shirt in tribute — Devon Again’s self-confessed impostor syndrome was misplaced. With a rollicking mix of high-energy country twang, twisty ballads and production-heavy pop hits bolstered by her crisp belt, she made the stage her own. —Eloise Rollins-Fife

Die Spitz dives into a great early set

The set began with a five-minute delay due to technical issues, during which bassist Kate Halter — impressively — performed several handstands to pass the time. By 1:45 p.m., the band was ready to go, with frontwoman Ellie Livingston kicking off the performance. Draped in a torn white skirt and black fishnet gloves to complement, she wailed “I hate when girls die.”

Die Spitz’s set felt like the epitome of what Daisy Chain was all about. The band members took turns strutting around stage and acknowledging, “I know it’s f— hot!” But that didn’t stop the crowd from forming mosh pits on the left and right side of the yellow Marigold stage. At one point, Livingston even jumped in herself, to the despair of security and the delight of fans. —JM

Eleanor “Ellie” Livingston of Die Spitz performs during Daisy Chain Fields.

Santigold’s set was worth fighting for

Santigold’s eclectic, genre-defying sound may be a hallmark of the “indie sleaze” era, but her standout midday Daisy Chain set proved she has plenty of staying power in 2026. Dressed in all white and flanked by a pair of straight-faced dancers in futuristic sunglasses, the 49-year-old artist performed back-to-back hits like “Run the Road” and “L.E.S. Artistes” to a crowd ready to dance the pain away. She even brought a handful of fans onstage — mostly, adorably, children — for a follow-along dance contest during “Unstoppable,” with a winner determined by cheers. Wrapping up the set with “Disparate Youth,” Santigold reminded the audience to keep believing in “a life worth fighting for.” –ERF

Santigold transports the crowd to the early aughts era of indie sleaze during Daisy Chain Fields.

Bikini Kill double dares Daisy Chain crowd to keep fighting the power

“This government hates us and wants us dead,” proclaimed punk icon and Bikini Kill frontwoman Kathleen Hanna: a critical guiding light for Olivia Rodrigo’s feminist consciousness, as well as that of thousands of Daisy Chain attendees on Saturday. Since the band’s inception in 1990, the OG riot grrrls of Bikini Kill made social justice the centripetal force of their furor — long before Daisy Chain Fields, and even its late ‘90s predecessor Lilith Fair. Powered by Tobi Vail on drums (and occasional vocals), Kathy Wilcox on bass and Sara Landeau on guitar, the electric Hanna buffered classic songs like “Double Dare Ya” and “Feels Blind” with parables from her own revolutionary life — much of which she spent fighting back against objectification from men. Dudes in Saturday’s crowd got a special directive: “You guys gotta talk to your friends [about misogyny],” said Hanna. “[Women] are not gonna stop this on our own!” Sealed with a kiss and delivered with a snarl, the band closed its rip-roaring set with the anthemic battle cry of “Rebel Girl,” and were flanked onstage by a few lucky young fans. —Suzy Exposito

Bikini Kill’s Kathleen Hanna preaches a message of anti-misogyny to the crowd during Daisy Chain Fields.

Mitski brought melodrama and musical magic

Whether you’ve been rocking with Mitski since the “Lush” days or discovered her music via pandemic-era Tik Tok, when industrial ballads like “Washing Machine Heart” unexpectedly popped off, there’s no denying her captivating stage presence — not to mention her stunning vocals. Longtime fans may have wished for a few more of the hits (no “Your Best American Girl” after the recent “Puberty 2” 10th anniversary re-release was a surprise), but indie music’s favorite sad-woman still brought her A-game to the Dandelion Stage, incorporating her signature “Butoh” performance style — a form of avant-garde Japanese dance-theatre — underscored by a backdrop of 1940s melodramas. During her set she implored Rodrigo to make the festival an annual tradition. “When do you get to be the first anything anymore?” she said. “For the rest of our lives, we could be like, ‘I’m OG DCF.” – ERF

Mitski performs during Daisy Chain Fields.

The Breeders deliver ‘Last Splash’ classics

Hand it to Kim Deal: As one of the OGs on the bill at Daisy Chain Fields, the Breeders frontwoman used her band’s performance to shout out an even earlier pathbreaker by wearing an old Shirley Chisholm campaign T-shirt featuring the first Black congresswoman’s slogan of “Unbought and unbossed.” Deal and her bandmates (including her twin sister Kelley) drew deeply from their classic 1993 “Last Splash” LP, loping through the country-ish “Drivin’ on 9,” chugging on a fuzzed-out “Saints” and pricking up Gen Z ears with the perennially TikTok’d “Cannonball.” — Mikael Wood

The Breeders play songs from their 1993 classic album “Last Splash” during Daisy Chain Fields.

Doechii does it for the girls

Under the hot afternoon sun, Grammy award-winning rapper Doechii celebrated all things girls in her typical over-the-top fashion. She and her dancers arrived onstage painted in hot pink, the swamp princess’ hair fashioned into high pigtails. A dance breakdown to a hardcore take on Beyoncé’s “Run the World (Girls)” introduced the set, and though she fed fans by performing some of her most popular singles — a version of “Anxiety” that morphed into a cover of the original sample “Somebody I Used to Know” by Goyte, “Alter Ego” and tracks like “Nissan Altima” and “Boiled Peanuts” from her 2024 album “Alligator Bites Never Heal” — she also reminded festivalgoers of the influential Black women artists who came before her — Lauryn Hill, Queen Latifah, Beyoncé — by mixing their iconic songs into hers. Glowing magenta, she twirled above what looked to be a rising river, a physical representation of the swirling, engulfing thoughts that anxiety can provoke as she performed the song by the same name. And just to ensure there was zero confusion, the Florida rapper ended her set by simply stating: “We do this for the girls, we do this for the gays and we do this for trans women.” —Danielle Dorsey

Doechii performs during Daisy Chain Fields.

Doechii

Garbage gives grunge power to Gen Z

With its blend of serrated alt-rock guitars and sleek machine rhythms, Garbage always sounded a little ahead of its time when the band broke out in the post-grunge mid-’90s. But as frontwoman Shirley Manson evoked an age of digital surveillance and pharmacological dependence in “I Think I’m Paranoid” — one of the era’s great snarling pop singles — what you realized is that history had finally caught up with the band. — MW

Shirley Manson, lead singer of Garbage, performs during Daisy Chain Fields.

Chappell Roan reigns with a hit-heavy set

It’s funny to think that Chappell Roan has only really been in the American music scene for the past six years, with just one studio album to her name.

Roan appeared from the back of stage, revealing her leather, periwinkle stewardess outfit and red mod bob — an apparent nod to Luc Besson’s 1997 film “The Fifth Element.” Naturally, the crowd roared as she dove bob-first into “Super Graphic Ultra Modern Girl.” She’d occasionally crouch down to take a sip from her water bottle, which matched her ensemble.

Roan looked especially happy to be there, happily performing for free and her set did not disappoint.

“Only the hits today,” she said, smiling. “Only the hits.” —JM

Festivalgoers dance in the “MicroRave.”

Not for Radio crank up the volume

Just after sundown, the Marías’ enigmatic leading lady, María Zardoya, emerged to perform songs from her nocturne solo project, Not for Radio. Circled by a verdant reproduction of an enchanted forest, and dressed in a black swan-like two-piece by Ann Demeulemeester, Zardoya held the audience captive with her purring soprano and vampy stare. But make no mistake: by dialing up their otherwise elegant chamber pop with a little extra crunch and distortion, the players of Not for Radio came ready to rock out with the Daisy Chain crowd. It was during a performance of the new track “Comet,” which has only been recorded live thus far, that Zardoya bewitched fans into head-banging along with her. —SE

Olivia Rodrigo does duets with her idols

Sarah McLachlan, left, and Olivia Rodrigo perform during Daisy Chain Fields.

Rodrigo’s enduring virtue as a pop star is being a great fan first. The job requires commanding attention and devotion for yourself, but she’s never been shy about situating herself in the long arc of women who came before (and after) her, or just being moon-eyed to live inside her favorite songs with her heroes onstage. For her Daisy Chain Fields closing set, she dueted with generations of women that shaped her sense of what’s possible in music — Stevie Nicks for a gorgeous “Landslide,” and a surprise Alanis Morissette cameo for “Ironic” that felt like girl-gang karaoke night at its finest. She joined Lilith Fair founder Sarah McLachlan — a specific inspiration for this festival — for “Building a Mystery” and a deeply tender “Angel.” Even Rodrigo’s backing band, full of absolutely shredding women instrumentalists, played beside her on equal footing for exquisitely tasteful, post-punky revisions of songs across her three albums. The boys in the crowd got a brief chance to growl in the lead on “Expectations,” but here they were just allies — the headline act was Rodrigo’s talent framed as a gift received from other women, and given again to the young fans on the field. —AB

IRVINE — Olivia Rodrigo bridged generations Saturday night as the headlining act at her Daisy Chain Fields festival, where the 23-year-old pop star brought Stevie Nicks, Sarah McLachlan and Alanis Morissette to the stage for duets that demonstrated the enduring value of sharp, smart songwriting about women’s emotional lives.

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With McLachlan, Rodrigo sang “Building a Mystery” and “Angel,” which the two dedicated to Dolly Parton, who died Tuesday at age 80; with Morissette (who filled in for a missing Karen O), Rodrigo did the former’s iconic mid-’90s hit “Ironic.” Later, Nicks came out to close the show with a duet of Fleetwood Mac’s “Landslide,” inspiring a mass singalong in the audience of approximately 45,000 at Great Park Live. After the song, Nicks stuck around to deliver an apparently extemporaneous tribute to Rodrigo’s artistry and activism that seemed to push the younger singer close to tears.

Irvine, CA – August 29, 2026: Olivia Rodrigo performs during Daisy Chain Fields at The Great Park on Saturday, Aug. 29, 2026 in Irvine, CA.

(Kayla Bartkowski/Los Angeles Times)

Held a few months after the release of Rodrigo’s third studio album, “You Seem Pretty Sad for a Girl So in Love,” Daisy Chain Fields offered 10 hours of music by all women acts, including Chappell Roan, Doechii, Bikini Kill, Garbage, Not for Radio, the Breeders and Mitski, among others. On Friday, Rodrigo announced that the festival would donate $10 million to an array of organizations working for women’s rights and reproductive justice.

The singer’s headlining set mixed new songs from “You Seem Pretty Sad” — one highlight was “Maggots for Brains,” a euphoric pop-punk jam about going crazy in a lover’s absence — with oldies from her first two LPs, 2021’s Grammy-winning “Sour” and 2023’s triple-platinum “Guts.” Rodrigo also debuted a just-released tune called “Serena Joy,” which she titled after a character in Margaret Atwood’s “The Handmaid’s Tale.”

Just after the U.S. Supreme Court overturned Roe vs. Wade in 2022, ending the nationwide right to legal abortion, Olivia Rodrigo walked onstage at the Glastonbury festival in the United Kingdom, sad and furious but also galvanized. “I’m heartbroken over what happened in America yesterday,” Rodrigo said onstage then. “I’m devastated and terrified that so many women and so many girls are going to die because of this.”

Four years later, Rodrigo has a new festival of her own this weekend, Daisy Chain Fields in Irvine’s Great Park, that’s entirely in service to those causes of women’s rights and reproductive autonomy.

“I remember being at Glastonbury that day with the most exciting opportunity to perform on that stage, but at the same time, being shaken to my core knowing that women’s rights were being stripped away,” Rodrigo told the Times via e-mail just before the festival. “I want people to walk away from here feeling hopeful and feeling like they can effect change. That was the entire thesis of this festival. I do think we can. We’ve seen it happen before, and we’re seeing some change now.”

Daisy Chain Fields is an ambitious escalation of Rodrigo’s activism in this sphere, which has paralleled her chart-topping success after debuting as a teenager with her LP “Sour” in 2021. The festival — with similarly-aligned acts including Chappell Roan, Doechii, Bikini Kill, Katseye and others — will be a globally-prominent cultural event, underlining the urgency for reproductive and women’s rights work amid the current right-wing backlash. It raises funds to benefit 10 like-minded advocacy groups, and intertwines her music career and women’s rights advocacy in ways few pop artists at her scale are attempting.

“We are ecstatic to have Olivia supporting our work, not only financially, but using her voice and reach to shine a light on these urgent issues,” said Nancy Northup, president and chief executive of the Center for Reproductive Rights, which challenged abortion bans in 11 states, and filed the first lawsuit on behalf of women denied abortions in 50 years. “Women are continuing to suffer under these bans, and that won’t stop until abortion is federally protected once again. Her support will help us continue filing lawsuits and advocating for laws that expand reproductive rights, both in the U.S. and globally.”

Olivia Rodrigo performs during the opening night of her Guts tour at Acrisure Arena on Feb. 23, 2024, in Palm Desert, Calif.

(Michael Blackshire / Los Angeles Times)

Rodrigo’s public work in activism began in earnest on the tour for “Guts” in February 2024. That tour coincided with the launch of Rodrigo’s Fund 4 Good, a nonprofit (under the fiscal sponsorship of the 501(c)(3) group Entertainment Industry Foundation) that steered $2.5 million in profits and donations from that tour to a range of global groups working in women’s rights, health and reproductive care. These included Jhpiego — a Johns Hopkins-affiliated global women’s health NGO — along with Women’s Shelters Canada, Women Against Violence Europe, and the Korea Foundation for Women.

“She did something. She could have played it safe, but she acknowledged that she has the power to make stuff happen, and she’s going to use it for good,” said Kathleen Hanna, founder of the legendarily activist punk group Bikini Kill, who will play Daisy Chain Fields on Saturday. While Hanna recalled feeling initially skeptical about the all-women Lilith Fair in the ’90s, she respects how Rodrigo learned about that fest’s communal, radical goals from a recent documentary, and sought to update it for her fans’ generation.

“What’s awesome about that is that it’s not that rare” for artists to be outspoken on these issues now, Hanna said. “Look at Megan Thee Stallion, Hayley Williams — all I see is women who are like ‘This is bull—.’ In a fascist era, we need to be meeting each other and opening friendship circles instead of isolating ourselves.”

Rodrigo’s advocacy hasn’t always gone smoothly. While on tour for “Guts” in 2024, Rodrigo brought abortion rights groups under the National Network of Abortion Funds to canvass at shows, and some groups handed out free condoms and emergency contraceptives to fans. Those efforts upset conservatives in states like Missouri, which had enacted a near-total abortion ban, and where state legislators sought to ban the morning-after pill. Fearing political backlash, Rodrigo’s management team at the time reportedly asked the groups to refrain from passing out contraceptives, but still encouraged them to canvass on-site.

“I don’t think demanding that women and girls be safe and have ownership over their own bodies is a radical idea,” Rodrigo said. “I was raised by parents who encouraged that belief in me.”

At Daisy Chain Fields, Rodrigo will likely face little resistance — but the show arrives in an ever more challenging time for women’s health and rights.

The return of President Trump to office has resulted in legislation like the One Big Beautiful Bill Act that slashed funding for healthcare; decimated funding for groups like USAID; and saw controversial, conspiracy-pushing figures like Health and Human Services Secretary Robert F. Kennedy Jr. brought into government. Crucial issues in women’s health risked being ignored or exacerbated.

“It is a fraught moment” said Angela Aina, co-founder and executive director of the Black Mamas Matter Alliance, one of the groups supported by Daisy Chain Fields. Aina said that American Black women die in childbirth at three times the rate for white women, and 87% of these deaths were preventable.

“What matters most to us is that the festival is showing people the organizations that are doing this work and pushing solutions,” Aina added. “Black maternal health has too often been treated as a niche concern, something discussed among public health professionals and then set aside.” But when these topics underpin a massive, sold-out festival of music with an audience of young women, it becomes “part of ordinary civic life,” she said.

These organizations said Rodrigo made a real effort to connect personally with their teams and more closely learn about their issues and strategies. Some, like the National Institute for Reproductive Health and Planned Parenthood, focus on reproductive justice. Baby2Baby supports mothers in poverty while Johns Hopkins Center for Indigenous Health focuses on Native and First Nations community healthcare; FreeFrom responds to the epidemic of gender-based violence, while the National Domestic Workers Alliance advocates for care workers, the vast majority of whom are women.

“It’s really extraordinary,” said National Domestic Workers Alliance President Ai-Jen Poo. “[She’s] making the time to come to meetings and learn about each organization directly from us, offering to think through different ways that she can lift up our work even beyond the festival.”

Part of NDWA’s mission is to change the cultural conversation around domestic labor — “We as a culture often refer to it as ‘help,’ as opposed to the profession that it is for millions of workers,” Poo said — an undertaking Poo said Rodrigo understands well.

“I think that she is a great storyteller herself through her music, and she knows that great storytelling is at the heart of what moves people and what creates change for people,” she said.

Olivia Rodrigo speaks at the beginning of the July 14, 2021, daily briefing at the White House in Washington, where she was filming a video to promote vaccines.

(Susan Walsh / Associated Press)

The National Women’s Law Center works across virtually every issue affecting women and girls in the United States. “One of the things I like to say is that our fingerprints are on the lives of women in this country in ways that they’re probably not even aware of,” said Uma Iyer, NWLC’s chief external affairs officer.

Iyer said that the “constant conversation” between law, policy and culture change is at the heart of the NWLC’s work, and Rodrigo’s advocacy keeps that conversation urgent.

“We’ve seen that in how #MeToo played out. That spawned litigation, but it was also a big global cultural moment,” Iyer said. “You’re talking about it at kitchen tables and movie theaters and on talk shows, and that discourse really matters when you’re trying to effect change.”

Each of the nonprofits will have a physical presence at the festival in Irvine’s Great Park. For their station, Poo said the NDWA will set up a space for visitors to learn about care work and pay tribute to the caregivers in their own lives through artwork, which will all knit together “in a big chain of care” by the festival’s end.

“We’re really excited about all the people who will come to our tent and have a conversation with us and stay involved in our movement long afterwards,” she said. “We feel like Daisy Chain is almost like a catalyst for really growing this movement for care in our country.”

Several organizers said the recognition and opportunities for connection that the festival brings are just as meaningful as whatever financial support it generates.

While the festival’s total donation pool is yet unclear, Rodrigo has said that all artists on the lineup are performing for free, though production and staffing costs for a fest this size will be substantial.

What money the nonprofit groups do receive will go right back into “continuing the work,” Iyer said. “The work of gender justice in whatever form it shows up for any of these 10 organizations is really the work of protecting our democracy.”

Money generated by Daisy Chain Fields will be “flexible dollars,” Iyer explained, usable for anything an organization needs to fill in the gaps. “Those are critical dollars for nonprofits to be able to survive and do the work,” she said. Beyond the impact for populations the organization serves, Iyer said the promise of Daisy Chain Fields has boosted morale among NWLC staff during an extremely difficult time in America.

“When you have this big festival with people you love to hear, who bring you joy and bring you comfort and peace and entertainment and laughs and love, and they’re all banding together because this one incredible person asked them to, because she believes it’s the right thing to do — it makes the work a little less hard.”

The work seems to be catching on. Roan, long outspoken on LGBTQ+ rights issues, will throw the Super Graphic Spectacular concert at the Shrine in Los Angeles on Oct. 21-22, benefiting trans youth through Roan’s Midwest Princess Project. Last year, Doechii told the audience at the GLAAD Media Awards in L.A. that as ”hard-won cultural change and rights for transgender people and the LGBTQ+ community have been threatened,” the superstar rapper was “disgusted” by the revanchism.

“Olivia’s involvement is such a gift, because she is reaching and educating young people who may feel checked out or hopeless on these issues,” Northup said. “Olivia is giving us a chance to meet young people where they’re at, and she’s approaching it with positivity. Her message is not about what we’ve lost, it’s about what we can accomplish if we channel our collective power as women and girls.”

Rodrigo just followed up her acclaimed LP “You Seem Pretty Sad for a Girl So in Love” with a new single, “Serena Joy,” titled after a character in Margaret Atwood’s “The Handmaid’s Tale” who complies with an oppressive theocracy.

“If they do it to them, they’re gonna do it to you,” Rodrigo sang, with a fury that brooks no room for despair.

“There’s a growing sentiment among young people and women that we have to create change, and hopefully people are inspired, whether it’s by engaging with some of our NPO partners or simply finding whatever way feels right to them,” Rodrigo said. “There is no doubt in my mind that protecting women and girls, and ensuring they have ownership over their own bodies, has to be a priority for all of us.”

A Southern California music festival featuring only women musicians and created by Olivia Rodrigo? That’s not such a bad idea.

Rodrigo, fresh off the release of her junior album, on Monday unveiled her Daisy Chain Fields music festival and the roster of all-women artists set to take over Irvine’s Great Park on Aug. 29. The lineup will include Rodrigo, Chappell Roan, Katseye, Mitski, Doechii and special guests Karen O, Sarah McLachlan and Stevie Nicks.

The 23-year-old Grammy winner and vocal advocate for women’s rights said in her post that her dream festival has finally become a reality and that earnings from the spectacular will go to charities benefiting women and girls.

“The lineup is truly insane and full of my heroes and friends,” Rodrigo said in her announcement. “I firmly believe that joy, community, and music can be the drivers of meaningful change and I’m hopeful this festival will be just that.”

Artists Bikini Kill, Die Spitz, Eli, Garbage, Not for Radio, Quiet Light, Rachel Chinouriri, Santigold and the Breeders are also set to perform. Fans hoping to snag tickets can sign up for pre-sale access on the festival’s website.

Rodrigo’s Daisy Chain Fields comes to Irvine a month before the former Disney Channel star kicks off her massive Unraveled tour, promoting her latest release “You Seem Pretty Sad for a Girl So in Love.” She will take over Inglewood’s Intuit Dome for four nights in 2027: Jan. 12, 13, 16 and 17.

In his album review, Times pop music critic Mikael Wood writes that Rodrigo’s latest release sees the singer-songwriter approach romance and heartbreak with “new wisdom, drawing sophisticated conclusions about why people in love do the things they do (and don’t do the things they don’t).”

PREGNANT Daisy Lowe showed off her baby bump as she joined Lily Allen and Vick Hope at a Royal Academy event.

The model and former Strictly star revealed she was pregnant with her second child in February.

Her pregnancy came just seven months after she tied the knot with husband Jordan Saul.

The couple already have daughter Ivy together, and as Daisy showed off her burgeoning bump on the red carpet, it looks like it won’t be too much longer until the family of three becomes four.

Daisy, 37, was attending the Royal Academy Summer Exhibition preview party at Burlington House, and wore a cream, lace dress which featured a large slit up the back, allowing her to show off her legs as she walked.

Daisy was joined at the event by Lily Allen, who wore a striking gown which featured a black mesh overlay and a cream feather drape detail running from her neck down her back to the floor.

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Meanwhile Vick Hope wore a striking orange and pink tiered summer dress and accessorised with a gold clutch.

Also in attendance was Claudia Winkleman, who wore her trademark black alongside husband Kris Thykier, and Jenna Coleman.

When announcing her pregnancy,  Daisy shared pictures from her family holiday with Jordan and Ivy.

She wrote: “Heading home from our honeymoon with an extra stowaway.

“Little bump is growing FAST & Ivy is so excited to meet *her* baby.”

Daisy and property developer Jordan, 31 married in a “wild and romantic” ceremony last June.

The model, whose dad is Bush rocker Gavin Rossdale, wore a Vivienne Westwood couture gown and completed her stunning look with a gorgeous tennis bracelet by The Vault London, a Lulu Guinness shell bag and crystal-dotted Jimmy Choos.